Monday, June 1, 1998
Soundbites
Various Artists, "Godzilla: The Album" (Epic) How can such a
lame movie be saved? Create an enjoyable and multi-dimensional
soundtrack that features great songs, high-profile artists and an
aura that mirrors the tones and moods of the movie … even if it
has its exceptions.
The main commercial draw for this soundtrack, the Wallflowers’
cover of David Bowie’s anthemic "Heroes," is one of the exceptions.
This lazy delivery of the classic song hardly reflects the themes
of the movie, save maybe the ending. As a Wallflowers song, it
works; as a Bowie cover, it comes across as unemotional. Foo
Fighters and Ben Folds Five offer decent, softer songs while Green
Day wonderfully loops their 1995 "Brain Stew" with Godzilla’s roars
and screeches.
Clearly, though, the highlight that speaks volumes here is Puff
Daddy’s "Come With Me," featuring Jimmy Page and his guitar riffs
from the Led Zeppelin classic, "Kashmir." While the rapping and
lyrical quality might be improved, its paranoia and confrontational
mood reflect the movie’s theme perfectly. Furthermore, the song
makes a huge statement about pop music. Puff Daddy is the only rap
and R&B artist featured on this alt-rock soundtrack. The fact
that Puffy embraces such rock heroes as David Bowie, the Police and
Led Zeppelin contradicts the anti-guitar attitude of most rap stars
today. Where rap and rock stand sharply divided in today’s Top-40
environment, except acts like Rage Against the Machine (featured on
the album with the driving, masterful "No Shelter"), Puffy unifies
the two beautifully. His role as the protagonist to the perpetual
fragmentation of pop music, especially on this rock album,
represents the ambition of one artist to change the seemingly
racist nature of the popular genres. He gives rock some rhythm; rap
some melody. He’s got a way to go, but his efforts are to be
heralded, especially on an album with such commercial potential.
Mike Prevatt B+
Sylk-E. Fyne, "Raw Sylk" (Grand Jury) Forgoing personal
commentary about the troubles in the streets, Sylk-E. Fyne has
slip-slided her way onto the charts with unabashed sexual
simplicity. Her debut album, "Raw Sylk," is a light mixture of
youthful exuberance and elderly sensibility. Unfortunately, this
does not allow her to escape the big-name, female rap acts that
have recently preceded her, like Missy Elliot, Da Brat and Foxy
Brown.
The music in its entirety is entertaining, sampling a wide
variety of old remastered tunes. But, Sylk-E. Fyne often fails to
add power to her words. She settles so comfortably in her routine
that each track treads dangerously close to monotony. By not
utilizing the accompanying melodies to complement her voice, this
young artist’s vocals take a back seat to the slow tempo beats.
The only standout song on this album is the top-selling single,
"Romeo and Juliet" (featuring Chill). It is a raunchy, no-holds
barred, bedroom-romping testament to pure lovemaking. Enjoyably
mischievous, Sylk-E. Fyne is unafraid to express the naughty, kinky
side of human nature.
"Raw Sylk," is a decent effort in creating a spot in a crowded
hip-hop market. But until she is able to strengthen her vocal
delivery, Sylk-E. Fyne will only remain a name. Teron Hide C+
Guster, "Goldfly" (Hybrid) Ever since alterna-rock’s initial
burst in the early ’90s there has been a continued softening of
that genre’s sound. The raw originality of bands like Nirvana and
Jane’s Addiction has given way to sterile, formulaic bands like
Matchbox 20 and Tonic. This trend results from greedy record label
executives making a mad dash to sign any and every young band with
a two-guitar attack and an apathetic world view. Guster, the latest
band to follow this trend, is a prime example of what happens when
a band is signed before they have a chance to mature.
What sets Guster apart from most modern rock bands is their
mostly acoustic accompaniment. That style works well on slower,
more introspective songs like "Demons" and "Rocketship." However, a
beefed-up electric sound would benefit the band’s more upbeat
material, especially the catchy album-opener "Great Escape."
Besides giving the album more texture, a few electric guitars
here and there would help to take attention away from
singer-guitarist Ryan Miller’s overwrought and melodramatic lyrics.
His sophomoric musings on apathy and love manage to be simplistic
and incomprehensible at the same time.
If given a chance to hone their sound a bit more, Guster could
become a contender in the alterna-rock arena. But do we really need
another Matchbox 20? Adam Tolber C+
Todd Snider, Viva Satellite (MCA) After hearing the opening cuts
of Todd Snider and the Nervous Wrecks’ third album, "Viva
Satellite," listeners will be inspired … inspired to listen to
Tom Petty, a better craftsman of the powered-up folk rock that
Snider attempts to produce.
The lackluster opening track, "Rocket Fuel," has a driving
guitar hook, but the vocals become tiresome after the third mention
of "rocket fuel," a phrase that crops up in the song 13 times.
After this initial stumbling, Snider seems to right himself,
rebounding nicely with "I Am Too." Not only does it feature
grooving rhythm, it has one of the most offbeat lines on the album.
While growling about being a rebel, ready to show his girl a wild
time, Snider suddenly snarls "I wanna hit this town ’til its teeth
come out." Sure, it doesn’t make sense, but it sounds darn
cool.
"Out All Night" is fairly well done, with a catchy beat and more
ticked-off lyrics about family conflict. "I got this feeling that
my step mom hates me/ that gold digger’s got a worthless bone / she
stays drunk on rum and Pepsi / she’ll never notice if I’m not
home." Curiously, Snider’s voice, which handled the gritty vocals
of "I Am Too" easily, seems weak here, Snider seemingly unconvinced
of his lyrics.
His hyped sense of humor emerges in the closing track, "Double
Wide Blues," a mock-country ballad that sounds sort of like a less
angry cousin to Jon Wayne’s "Texas Funeral." This ironic send-up of
trailer park life has all the touches of a down home country
tear-jerker, from the self-pityingly whined vocals to the plinking
honky-tonk background piano. If he wrote more songs like this and
stayed away from Petty territory, Snider would be in good shape.
Brent Hopkins B-
VARIOUS ARTISTS
"Godzilla: The Album"